The Tracker

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Gareth v David Gulipil is superb is this haunting and powerful piece of cinema. Rolf de Heer is the master of making brutal films on race relations in Australia and produces yet again with this movie. Rated 4/5 Stars •  Rated 4 out of 5 stars 06/29/23 Full Review Ian J Nit so bad if it was made by highschool students. I loved gulpilill in this. The only bloke with some acting skills. The music was out of place, the script is horrible, the cinematography is amateur at best as is the acting. The topic deserves so much more attention but films of this calibre won't make it to those who need to see it. Such a wasted opportunity. Rated 1/5 Stars •  Rated 1 out of 5 stars 06/05/23 Full Review Jeff W It's a good movie. Very realistic and engaging portrayal of 1920s Australia in terms of treatment of indigenous people. I would have rated it more highly had it not been for the music - all sung by the same person, all with the same theme, and way too much of it. Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 04/09/23 Full Review delysid d it's a good watch, check out mad dog morgan, fantasm Rated 3/5 Stars •  Rated 3 out of 5 stars 12/17/21 Full Review sanja s Captivating and surprising... Rated 5/5 Stars •  Rated 5 out of 5 stars 03/31/23 Full Review Audience Member Not really an allegory, despite the characters being given only labels such as The Tracker, The Fanatic, The Follower, and The Veteran, rather than names. Instead, the film shows us the relations between a group of white men and Indigenous Australians in 1922 as a sort of microcosm or potent example of the wider relations between the invaders/colonisers and the First Peoples. And although the prejudice and devaluation are explicit and brutal then, there can be no denying that prejudice and devaluation remain, perhaps institutionalised, perhaps living on in those who miss the White Australia policy. As the Tracker, David Gulpilil has the toughest role and plays it with great subtlety. We see him assisting the white men (led by Gary Sweet as the Fanatic) who are hunting an Aboriginal man who has been accused of killing a white woman - and of course, we wonder what has led The Tracker to "betray" his people (which in itself is a problematic thought, since we soon can infer that the Tracker is from a different nation). When the hunters interact with other Indigenous people, The Tracker is in the middle, perhaps feeling guilty or at least awkward. No doubt there are strong situational forces that have put him into this position. But after a brutal act (or multiple acts) by the Fanatic, The Tracker (as well as the Follower, Damon Gameau, and the Veteran, Grant Page) begins to distance themselves from him. The movie continues until the Fugitive is caught and there are a number of dramatic events en route. However, the plot itself is possibly less important to the impact of the film than other aspects: 1) the impressive landscape (always important in Aboriginal cultures); 2) the music (songs sung by Archie Roach with lyrics that comment on the characters and actions driven by almost psychedelic soulful rock); and 3) artworks (dynamic primitive paintings by Peter Coad are used to avoid presenting violence realistically) heighten the power of the film and its ability to convey its important message. If only these lessons could be learned. Rated 4/5 Stars •  Rated 4 out of 5 stars 02/04/23 Full Review Read all reviews

The Tracker

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